The Pregnant Widow by Martin Amis
Reviews of the much-hyped new Amis novel comment on its preoccupation with sex, coupled with multiple allusions to literary classics. Peter Kemp in the Sunday Times and Leo Robson in the New Statesman are in agreement over the decline of Amis's high stylisation, which has lost its "scabrous zest" (Kemp), while his "voice . . . lacks the power it had in earlier works" (Robson). The structure is also "ramshackle" (Kemp) and "ill-shapen, lopsided, rough-hewn" (Robson).
What comes out of all reviews of this novel is its place in the Amis canon: "The set-up, a house party in well-heeled surroundings, recalls the one in his second novel, Dead Babies (1975)," writes Kemp. Robson places the style and subject matter of the book in a continuum with Amis's previous novels: "The book represents a return to the social and psychological territory of The Rachel Papers (1973), Dead Babies (1975) and Success (1978) -- pitiless comic novels about youthful hedonism and self-loathing, suffused with what the latter two books called 'street sadness'."
Meanwhile, Tim Adams in the Observer describes the book as "a flashy Decameron of the sexual revolution". Tom Chatfield in Prospect sums up the plot and premise thus: "It is 1970, and we are holidaying in Italy in the company of an attractive and improbably named young cast." For both Adams and Chatfield, the novel is a "comedy of manners", and the overall consensus is that it is entertaining but highly flawed. Chatfield: "As ever, it is brilliantly done; as ever, it can be wearing."
Living Dolls: the Return of Sexism by Natasha Walter
Much is made of Natasha Walter's latest work being partly a retraction of her earlier book The New Feminism.
Cassandra Jardine in the Telegraph announces that "a recantation is always delicious", while Jessica Valenti in the Observer praises its return to the "personal". Valenti is impressed by Walter's dealings with sex workers and by her lack of judgement towards the young women she interviews. She stops short of an unqualified rave by suggesting that the book itself stops short: "The book's set-up and subtitle promise something that isn't delivered: the full story."
In the Sunday Times, Camilla Long berates Walter's lack of conclusion-drawing: "Half Grazia, half felt-knickered left-wing women's page, the book's biggest problem is its lack of solutions, or any prescriptive thinking."
"Living Dolls: the Return of Sexism" will be reviewed in Thursday's New Statesman.
The Long Song by Andrea Levy
Andrea Levy's follow-up to the Orange Prize-winning Small Island has provoked diametrically opposed opinions.
Holly Kyte in the Telegraph deems it "a masterclass in storytelling". Kyte finds the subject matter -- in this tale of "a slave girl living on a sugar plantation in 1830s Jamaica just as emancipation is juddering into action" -- sensitively handled: "Slavery is a grim subject indeed, but the wonder of Levy's writing is that she can confront such things and somehow derive deeply life-affirming entertainment from them."
Conversely, Tom Deveson in the Times finds the novel unconvincing: "It's difficult to sustain an antique narrative mode while keeping it plausible . . . Invocations to the reader amount to little more than pointless postmodern padding." He finds that "the book's language falls short of its admirable ambitions".